Prevalência de lesões musculo-esqueléticas em profissionais de artes musicais

Enquadramento: As lesões músculo-esqueléticas relacionadas com o trabalho apresentam-se atualmente como um crescente flagelo e a profissão de músico é uma atividade predisponente para a ocorrência dessas lesões, exigindo uma atenção especial dos profissionais de saúde para identificar e controlar os fatores de risco. Objetivos: O presente estudo pretende identificar a prevalência das perturbações músculo-esqueléticas nos músicos profissionais praticantes de Cordofones beliscados e analisar a sua relação com as variáveis sociodemográficas, estado de saúde e características da prática instrumental. Métodos: Trata-se de um estudo não experimental, transversal, descritivo-correlacional e de caráter quantitativo, que envolveu 70 músicos portugueses praticantes de cordofones beliscados, residentes em Viseu, Porto e Lisboa, com idades compreendidas entre 18 e 55 anos. Foi realizado com recurso ao uso de um questionário que avalia as variáveis sociodemográficas, as clínicas e as relacionadas com a prática musical e para avaliação das perturbações musculoesqueléticas utilizámos o “Questionário Nórdico Músculo-Esquelético”. Resultados: Dos músicos estudados 70,0% referem sentir perturbações músculo-esqueléticas como dor/formigueiro/dormência nos últimos 12 meses, tendo estes ocorrido sobretudo nos punhos/mãos (68.6%), ombros (54.3%), pescoço e região lombar (44.3%). Observámos que são vários os fatores risco das perturbações musculoesqueléticas como a idade avançada, um Índice de Massa Corporal mais elevado, o consumo de bebidas alcoólicas, não praticar atividade física, o excesso de espetáculos, a postura adotada, instrumentos mais pesados e tocar sem pausas. Conclusões: O nosso estudo reforça a ideia de que as perturbações músculo-esqueléticas estão presentes nos músicos portugueses e que a sua origem está relacionada com características individuais, estado de saúde e exigências da prática instrumental. Cabe então ao Enfermeiro de Reabilitação criar estratégias preventivas, para evitar que os fatores de risco acrescidos causem ou aumentem as já instaladas lesões músculo-esqueléticas nos músicos, promovendo uma carreira longa e saudável. Palavras-chave: Músicos; Lesões musculoesqueléticas; Fatores de risco; Enfermagem de Reabilitação.

Musicalmente saudável : o professor como agente promotor da saúde

A música utiliza o som como linguagem. A vivência musical desenvolve a criatividade, espontaneidade, concentração, entre outros. A atividade musical não é possível se a saúde do músico se encontrar abaixo do nível de exigência pedido, levando muitas das vezes à contração e desenvolvimento de lesões. Este estudo teve como objetivos elucidar os professores do Conservatório de Música de Coimbra para a existência de sintomas e lesões musculoesqueléticas nos seus alunos. Pretendeu-se ainda, melhorar os seus conhecimentos no que diz respeito a estratégias de prevenção que possam vir a influenciar os fatores de risco (pessoais, ambientais e relacionados com a performance musical), de modo a agirem com eficácia enquanto agentes promotores de saúde dos seus alunos. Ao longo do estudo pudemos averiguar que grande parte das queixas, dos alunos e professores, estavam relacionadas com, posturas incorretas durante o estudo, carência de exercícios de relaxamento/aquecimento muscular, antes e depois da performance, bem como condições ambientais adversas, tais como luz, calor e altura inadequada da estante. Este estudo foi importante para o projeto Musicalmente Saudável, uma vez que na sua continuidade poderá recorrer da ajuda e colaboração dos professores, que desde já se mostraram interessados e disponíveis para este tipo de ações.

Capas de disco da gravadora Continental nos anos 1970: música popular e experimentalismo visual

Neste artigo, proponho discutir as inovações de algumas capas de discos de um conjunto de artistas experimentais da MPB nos anos 1970, lançados pela gravadora Continental, sediada em São Paulo. Esses álbuns, cujo design tentou traduzir para o campo visual os projetos estéticos de compositores e músicos, foram inspirados na contracultura, na tentativa de criar novas formas de expressão durante a ditadura militar. Discos de quatro artistas serão analisados: Walter Franco, Tom Zé, Secos & Molhados e Novos Baianos. A capa de disco será pensada não apenas como embalagem comercial, mas como elemento de mediação estética, de gosto e de consumo, dentro do campo midiático da canção.

José Restrepo Jaramillo y la experiencia de la modernidad en los cuentos de 1922

A principios del siglo veinte, Medellín (Colombia) estaba dejando de ser una población caracterizada por formas sociales no urbanas y comenzando a presentar otras propias de la vida de las ciudades. Este proceso modificó los múltiples vínculos existentes entre las formas culturales y la sociedad y desembocó en la aparición, durante la década de los años veinte, de escritores, pintores, músicos y fotógrafos que registraron las transformaciones de la experiencia cotidiana. El siguiente trabajo hace uso de las teorías sociales y de la cultura de Georg Simmel, los formalistas rusos y Henri Bergson para tratar de dar cuenta de la manera en que un escritor de la época, José Restrepo, capturó, simultáneamente, la coexistencia en Medellín de formas sociales no urbanas, formas urbanas y el proceso que llevó de las primeras a las últimas

Templo Central da Igreja Evangélica Assembleia de Deus do Natal/RN: um estudo sobre música e educação musical

This study aims to investigate the music and the existing music education in Central Temple of the Evangelical Assembly of God Church of Natal/RN. The research question asks how are the musical practices, teaching and learning music that happens in this place. I used the qualitative approach conducting a case study. The theoretical framework were Arroyo (1999, 2000a, 2000b, 2002), Kraemer (2000), Souza (1996), Souza (2000, 2008, 2009), Green (1997), Queiroz (2004a, 2004b, 2005, 2007, 2010, 2011, 2013), Geertz (1989), Nettl (1992) and Merrian (1964). I conducted semi-structured interviews and participant observation with the direction of the music department, teaching coordination, students, teachers, musicians and conductors of the church. The study revealed that the relationship between music and education is beyond just a musical training, there are many relationships established as faith, belief in God and devotion. It was found that the views of musicians and conductors think the music teaching in the church to play in worship and praise God. In the musical training of students, he was working not only musical content; It was understood that music is a mediator of meanings that go beyond experiences and musical practices. The worship of God and the worship featuring musical practices and their effects are direct music classes. The research contributes to reflection and understanding of music and music education happens in the evangelical church and a greater understanding in the relationship between music education and the cultural context where it happens.

Aprendizagem musical na Orquestra Sinfônica da UFRN

Music and music education are present in the daily lives of people in different ways and in multiple contexts. In this study, we highlight the musical training in the orchestral context aiming to understand how learning music happens in the Symphony Orches tra of the Universidade Federal do Ri o Grande do Norte – OSUFRN. To achieve this goal, we identified all the activities, structure and functioning in OSUFRN; we have observed the development of activities of the group by checking the interactions among the participants of the orchestra and the different ways to learn music in that orchestral context. The research is based on discussions about collective musical practice, instrumen tal training in music education, the process of learning and the relationship between young people and music in the context of collective musical practice learning. Qualitative approach and case study were used as methodological procedures. Data collection was established by means of on - site observations, accompanying of the activities, rehearsals and performances of group and semi - structured interviews with the conductor and some participants with more time in the orchestra. We have also used photographs a nd footage that helped us in the procedure collection and construction of data. The analysis and interpretation of these data were enforced by Content Analysis featuring. It reveals the musical learning, through learning instances perceived in rehearsals, concerts, in living with the conductor and between musicians, teachers, employees and guest musicians, individually in travel and exchanges with other orchestral groups. In this way the activities developed by the group enable a comprehensive musical educa tion that guides to acquire autonomy in their learning and preparing them for future careers.

Narrativas poéticas e trajetórias dos poetas em Mossoró/RN

The city of Mossoro/RN has showed up as a “cultural capital” in the state of Rio Grande do Norte due to a politic of events that enhance historical facts occurred in that region. These actions evoke researches about a construction of a self-identity of the city and attract many tourists that provides a boost to local economy. Considering this, this paper aims to understand the insertion of poets in this cultural context, analyzing the cultural performances that they participate and their personal narratives. Semi-structured interviews and participant observation in cultural events were employed to get this aim, privileging the observation of popular poets, whose presentations are more frequent. This overview took to the approximation with two artists associations, of which the interviewed poets were selected: “POEMA – Associação de Poetas e Prosadores de Mossoró” and “Casa do Cantador”. The relationship observed among the artists of these institutions – writers, improvisers, cordel makers, musicians and “emboladores de coco” – raised questions about the complexity of popular culture and the social connections among the artists of the city, discussed in this study.

Aspectos técnico-interpretativos no quarteto de cordas nº 2 de Guerra-Peixe

Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.

Aspectos técnico-interpretativos no quarteto de cordas nº 2 de Guerra-Peixe

Technical and interpretative aspects of the String Quartet No. 2 Guerra-Peixe will approach this work of a composer who is considered one of the greatest exponents of Brazilian music of the twentieth century, who developed several strands in his career as a musicologist, performer, composer, arranger radio and cinema, among others. In this work, we will see in the work in question their compositional styles, pointing sources that he has been drinking and offering elements that will subsidize technical and interpretive choices for future interpreters. After the historical context and esthetics, we will make some brief remarks about the terms performance and interpretation, to support the objective of the work, which will be the interpretation of the work. For that purpose, a comparative analysis was performed between recording of important Brazilian quartets, interviews with relevant players on the national scene and trials in rehearsals and recitals, always making a Quartet bridge with other works by the composer. Concomitantly, it was held analysis of handwritten edits by the composer, culminating with its own revised edition.

Classificação de técnicas estendidas no contrabaixo acústico

This work is to identify and classify extended techniques on acoustic bass. The main purpose of this classification is to provide the bass better understanding and practice these techniques. For this, we carried out a literature review, it was noted that, in academia, this topic is new and understanding for some musicians is still complex and nebulous. To assist in the difficulties of the bass player, the extended techniques were divided into two parts, proposing different approaches. The first part proposes the experimentation and exploration of conventional and unconventional techniques from other instruments on acoustic bass. The second seeks to identify and rank the extended techniques, showing excerpts from the solo instrument repertoire compositions. On each, there are still referenced authors and their contributions to the instrumental practice these techniques. In both categories of classification procedures were presented to be adopted by the bass player for the implementation of those techniques, as well as suggestions for their study. Among the main results, it was found that through the proposed classification of these techniques, one can incorporate new resources to technical universe and timbre of the instrument. Lastly, it was found a creation of a composition performed by interaction between composer and performer, containing new extended techniques or extended techniques not found in the instrument's contemporary soloist repertoire.

Classificação de técnicas estendidas no contrabaixo acústico

This work is to identify and classify extended techniques on acoustic bass. The main purpose of this classification is to provide the bass better understanding and practice these techniques. For this, we carried out a literature review, it was noted that, in academia, this topic is new and understanding for some musicians is still complex and nebulous. To assist in the difficulties of the bass player, the extended techniques were divided into two parts, proposing different approaches. The first part proposes the experimentation and exploration of conventional and unconventional techniques from other instruments on acoustic bass. The second seeks to identify and rank the extended techniques, showing excerpts from the solo instrument repertoire compositions. On each, there are still referenced authors and their contributions to the instrumental practice these techniques. In both categories of classification procedures were presented to be adopted by the bass player for the implementation of those techniques, as well as suggestions for their study. Among the main results, it was found that through the proposed classification of these techniques, one can incorporate new resources to technical universe and timbre of the instrument. Lastly, it was found a creation of a composition performed by interaction between composer and performer, containing new extended techniques or extended techniques not found in the instrument's contemporary soloist repertoire.

Cromañón: ¿Tragedia, masacre o crimen social?

El 30 de diciembre último se ha producido en la Ciudad de Buenos Aires un hecho que sacudió al país: el incendió de un boliche de rock en el que murieron, hasta hoy, 195 personas. Inmediatamente se desencadeno la batalla por desentrañar lo sucedido y señalar al culpable. Los medios de comunicación, los intelectuales, los músicos, los partidos políticos y las propias víctimas fueron parte de esta batalla. Los culpables se fueron sucediendo, desde los funcionarios públicos y el dueño del boliche (Ibarra y Chabán), hasta las propias víctimas (el público, los fans de rock, el chico que prendió la bengala). En el medio, la banda que tocaba esa noche, Callejeros y detrás de ella la cultura rock. La intención de la presente ponencia es indagar en el análisis de las fortalezas y debilidades de cada una de las explicaciones del hecho, cada cual con su culpable señalado. Su intención es también indagar sobre el origen y los intereses sociales que se esconden detrás de cada una de las diferentes explicaciones. Por último intentaremos brindar, a partir de este análisis cual es la mejor forma de caracterizar lo sucedido. ¿Es Cromañón una tragedia, una masacre o un crimen social?

Cromañón: ¿Tragedia, masacre o crimen social?

El 30 de diciembre último se ha producido en la Ciudad de Buenos Aires un hecho que sacudió al país: el incendió de un boliche de rock en el que murieron, hasta hoy, 195 personas. Inmediatamente se desencadeno la batalla por desentrañar lo sucedido y señalar al culpable. Los medios de comunicación, los intelectuales, los músicos, los partidos políticos y las propias víctimas fueron parte de esta batalla. Los culpables se fueron sucediendo, desde los funcionarios públicos y el dueño del boliche (Ibarra y Chabán), hasta las propias víctimas (el público, los fans de rock, el chico que prendió la bengala). En el medio, la banda que tocaba esa noche, Callejeros y detrás de ella la cultura rock. La intención de la presente ponencia es indagar en el análisis de las fortalezas y debilidades de cada una de las explicaciones del hecho, cada cual con su culpable señalado. Su intención es también indagar sobre el origen y los intereses sociales que se esconden detrás de cada una de las diferentes explicaciones. Por último intentaremos brindar, a partir de este análisis cual es la mejor forma de caracterizar lo sucedido. ¿Es Cromañón una tragedia, una masacre o un crimen social?

Cromañón: ¿Tragedia, masacre o crimen social?

El 30 de diciembre último se ha producido en la Ciudad de Buenos Aires un hecho que sacudió al país: el incendió de un boliche de rock en el que murieron, hasta hoy, 195 personas. Inmediatamente se desencadeno la batalla por desentrañar lo sucedido y señalar al culpable. Los medios de comunicación, los intelectuales, los músicos, los partidos políticos y las propias víctimas fueron parte de esta batalla. Los culpables se fueron sucediendo, desde los funcionarios públicos y el dueño del boliche (Ibarra y Chabán), hasta las propias víctimas (el público, los fans de rock, el chico que prendió la bengala). En el medio, la banda que tocaba esa noche, Callejeros y detrás de ella la cultura rock. La intención de la presente ponencia es indagar en el análisis de las fortalezas y debilidades de cada una de las explicaciones del hecho, cada cual con su culpable señalado. Su intención es también indagar sobre el origen y los intereses sociales que se esconden detrás de cada una de las diferentes explicaciones. Por último intentaremos brindar, a partir de este análisis cual es la mejor forma de caracterizar lo sucedido. ¿Es Cromañón una tragedia, una masacre o un crimen social?